The Game Continues: did Wynton Marsalis kill jazz?

Wynton Marsalis. Since you’re reading a blog about jazz, I imagine his name will mean something to you. To some, his name rolls off the tongue, dripping like honey with admiration as one of the leading jazz musicians of our day. To others, his name is to be spat out with angry bitterness for how he has tainted their beloved music with his very existence. Whichever of these groups you belong to, you cannot deny that Marsalis has been a driving influence in jazz today, be it for better or worse.

So why is it that Wynton Marsalis now finds himself on the list of suspects in the alleged murder of jazz? He first made a target of himself when he wrote this article in 1988. Marsalis’ greatest sin as an artist is not recognizing the legitimacy of other art and his obsession with a label. It seems what has earned him such disdain is his rigid definition of what jazz is. His faithful clinging to the ways and traditions of the swing era has kept alive the forms of jazz long thought dead, all while claiming his to be the one true jazz.

Now before we take up arms to slay the false prophet in some sort of jazz crusade, let’s do a little evaluating here. There is little question that what Wynton Marsalis plays IS jazz. He has also been extremely successful with it, earning 9 Grammy Awards and one Pulitzer Prize since 1983. This is the point that I think people are angered by the most. Marsalis has essentially ignored every jazz innovation since 1960 (before he was even born) and many still regard him as the single most influential jazz musician living today.

I believe we can put the case of this “jazz heretic” away. Put away your pitchforks and douse your torches, because Wynton Marsalis has been wrongly charged of killing jazz. Go ahead, I’ll wait for you to get back. There, have a seat and calm yourself. I think we get so worked up over this particular trumpet player because he seems to defy the rule. He refuses to let go of the old ways, the beginnings of our art form, and yet he still remains hugely successful in what we know to be a progressive world driven by innovation. If anything, I feel he has done the world of jazz a great service by keeping our roots alive in his music. Yes, perhaps his rigid stance on labels in music is less than infallible but, love him or hate him, history WILL remember him as a great influence in the world of jazz. Yes, music, like all things, will move forward. Sometimes though, we all must be reminded of where we’ve been.

(originally posted on Jazz Heresy)

"Hipsters, flipsters, and finger-poppin' daddies, knock me your lobes."

There exists a devision among our people. Classical musicians look down upon the jazz musicians for their hipster ways and blatant abuse of music theory (which for some has become music law). Jazz musicians look down on the classical musicians as being "classical snobs" who haven't evolved their craft since circa 1800. Pop musicians look down on them both for holding onto traditions older than a few years while they go to spend their millions on Auto-Tune and "Rehab." These are the ideas we seem to hold strongly onto at least.

I once was approached by a professor, who after finding out I was a classical musician, decided to inquire what kinds of music I like. I find this to be the most commonly asked question of me as a musician. I quickly responded with a well ingrained answer that spoke something of the love of composers like Mahler and Wagner, and the loathing pretty much everything else (Britney Spears and 50 Cent come to mind).

She shook her head and walked away. Perplexed, I followed and asked what was wrong with what I had said. "As a musician you really should be more supportive of others of your craft. Not caring for another's music is one thing, but hating it outright and having no appreciation whatsoever for the music or the artist is quite another." I was blown away by this comment. Never before had I ever thought of people like Jessica Simpson and Eminem as colleagues. Performers of pop music had no real talent and where just there to brainwash the masses and leech the money away from "real musicians."

I was rather humbled by this encounter. I found myself actually having an appreciation for music written post 19th century. I'm not claming to actually LIKE everything I hear today. I mean, I still don't see the draw of rap songs like "Fuck Dat Bitch", but I can concede that they have their place. Along the way I've actually found that some of today's music is actually quite good. This is an experience that I never would have enjoyed if I hadn't been able to admit to myself that yes, I was a "classical music snob". Music is not born with a label. The genre is just something we've applied later, but it all falls under the umbrella term of music. It should all, therefore, be given an equall chance. Who knows? You might actually find yourself to be pleasently surprised at what you find.